‘PAUL  JOSEPH  SACHS 


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HANS  HOLBEIN 


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Selbstbildnis  Holbeins 

Portrait  of  Holbein  Urn  1523—1524  Portrait  de  Holbein 


THE  WORK  OF 


HANS  HOLBEIN 


REPRODUCED  IN 

Two  Hundred  and  Fifty-two 
Illustrations 


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HANS  HOLBEIN 


HIS  LIFE  AND  WORK 

The  age  in  which  Hans  Holbein  lived  and  worked  was  the 
age  of  what  has  been  called  The  New  Learning.  It  was  an  age  of 
practical  achievements,  of  adventures,  of  undertakings  for  the  pur- 
pose of  material  gains.  It  was  the  age  of  conquest  and  colonization 
for  worldly  benefits,  an  age  the  logical  outcome  of  the  Renaissance. 
Prior  to  this  age  people  were  moved  by  faith  in  the  invisible  and 
unknowable;  the  imagination  played  the  principal  part  in  human 
hopes  and  aspirations.  But  with  the  discovery  of  the  New  World 
and  the  achievements  of  the  Reformation  a new  spirit  possessed 
men.  They  saw  that  the  world  was  rich  in  the  means  for  making 
life  pleasant  and  desirable.  All  that  was  necessary  was  to  dig  and 
delve  and  shape  what  was  there  to  hand;  or,  to  go  out  and  adventure 
for  the  prizes  that  were  there  to  win.  The  spirit  of  this  age  was  thus 
a realizing  spirit,  and  it  is  this  realizing  spirit  that  Holbein  pos- 
sessed and  evinced  in  his  works. 

Holbein  came  into  this  adventuring  and  realizing  world  and 
found  that  men  and  women  were  busy  doing  things,  not  merely  think- 
ing them.  These  achieving  people  he  reproduced  in  his  portraits 
with  a keenness  of  observation  and  implacability  of  handling  that 
make  his  paintings  objects  for  wonder  and  admiration  to-day.  The 
people  he  pictures  are  no  longer  dreamers,  but  doers;  their  eyes  look 
out  with  sharp  calculating  and  clever  gaze  as  if  questioning  and 
analyzing.  These  are  men  and  women  of  affairs,  of  experience  of 
human  nature,  men  and  women  who  have  less  of  faith  and  more  of 
suspicion  in  their  natures  than  was  common  in  the  early  days  of 
the  Renaissance.  Holbein  must  himself  have  been  of  their  kind — 
a practical  man  who  found  the  world  a scrambling  place.  He 
scrambled  with  the  rest,  but  he  possessed  a sense  of  humor  which 
enabled  him  to  make  allowance  for  the  natural  rapacity  in  human 
beings,  and  to  look  with  kindly  scepticism  on  their  frailties  and 

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foibles.  This  is  what  we  find  in  Holbein’s  portraits  of  the  men  and 
women  he  painted,  and  this  also  is  what  these  portraits  indirectly 
reveal  of  the  painter  himself. 

Hans  Holbein  was  born  in  the  city  of  Augsburg  in  1497.  His 
father  was  a painter  and  a member  of  the  Guild ; but  he  was  not,  how- 
ever, a very  successful  artist  as  was  his  fellow-worker,  Hans  Burgk- 
mair,  for  he  seems  to  have  been  in  a state  of  continual  poverty.  In- 
deed, the  elder  Holbein  came  to  so  low  an  estate  that  his  household 
effects  were  sold  in  order  to  pay  a small  debt  he  owed  to  his  brother, 
Sigismund  Holbein. 

Augsburg  was  a famous  city  in  the  later  years  of  the  fifteenth 
century.  Its  citizens  were  merchant  adventurers  who  traded  with 
the  world.  Art  flourished  there  as  it  did  in  few  other  towns  in 
Europe.  It  was  a city  of  artists,  and  Holbein  came  to  his  profession 
as  naturally  as  he  breathed  the  air  of  his  native  place.  His  father’s 
taste  in  decoration  he  acquired  by  example  and  instruction;  his  own 
skill  as  an  artist  was  a natural  gift.  He  remained  a pupil  in  his 
father’s  house  until  he  was  seventeen  years  of  age,  when  he  left  it  to 
go  on  the  wandering  tour  usual  with  artists  in  those  days. 

We  know  little  of  his  travels  during  the  year  prior  to  his  ar- 
rival at  Basle  in  1515,  except  that  the  Canon  of  the  Constance  Min- 
ster commissioned  young  Holbein  to  paint  for  him  a “ Madonna  and 
Child.”  This  picture,  only  discovered  in  1876  in  a village  near  Con- 
stance, is  now  part  of  the  Holbein  Collection  in  Basle. 

At  Basle  Holbein  remained  but  a short  time,  probably  not  more 
than  eighteen  months.  The  title-page  to  Leo  the  Tenth’s  “ Breve 
ad  Erasmum,”  printed  by  John  Froben,  was  designed  by  Holbein, 
as  was  also  the  title-page  to  the  edition  of  More’s  “ Utopia,”  printed 
at  Basle.  These  facts  would  indicate  that  he  set  his  hand  to  any 
work  that  would  bring  him  a livelihood.  In  the  splendid  collection 
of  Holbein’s  work  made  by  his  friend,  Bonifacius  Amerbach,  which 
became  the  nucleus  of  the  Basle  Holbein  Museum,  we  find  table- 
tops  painted  by  Holbein  and  pictures  illustrating  the  Passion  of 
Christ  painted  on  linen,  evidently  for  church  processions.  In  these 
and  in  many  other  ways,  Holbein  supported  himself  by  his  art,  mak- 
ing of  it  a craft  and  business.  He  first  took  up  the  painting  of  por- 
traits with  the  execution  of  the  portraits  of  Jacob  Meier  and  his 
young  wife  Dorothea.  Here  we  see  the  beginning  of  the  mas- 
ter’s great  skill.  The  sketches  at  Basle  show  how  Holbein  worked. 
He  drew  a silver-point  outline  first,  with  light  washes  on  the  face. 
Then  he  made  pencil  notes  of  the  costume  and  colors  of  the  eyes 

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and  hair.  This  sketch  was  his  guide  for  the  finished  painting  which 
he,  probably,  completed  from  memory.  These  first  of  his  great 
portraits  are  decorated  after  the  manner  of  the  Renaissance;  but  his 
later  portraits  are  devoid  of  this  decoration;  they  are  concentrated 
efiforts  at  actual  likenesses  of  the  living  subjects,  rarely  elaborated  in 
colors,  and  but  seldom  concerned  with  the  details  of  costume.  The 
Dorothea  Meier  shows  more  attention  to  costume  than  most  of  the 
other  portraits;  but,  probably,  he  did  this  for  the  purpose  of  securing 
other  commissions  of  a like  kind.  In  Basle,  therefore,  Holbein  was 
the  apprentice,  supporting  himself  in  the  various  ways  which  were 
then  open  to  an  artist  for  his  living,  and  accomplishing  himself  in 
the  practice  of  his  art.  In  Basle  it  is  said  he  found  a patron  in  Eras- 
mus, for  whom  he  made  a series  of  pen  and  ink  drawings  for  his 
“ Ecomium  Moriae.” 

In  what  year  he  left  Basle,  or  where  he  went  after  he  left  it,  is 
matter  for  speculation.  Some  writers  say  he  is  the  Hans  Holbein  who 
was  fined  for  brawling  in  Lucerne  in  1517;  other  biographers  affirm 
that  it  was  his  father.  Be  that  as  it  may,  it  is  a fact  that  Holbein 
the  younger  was  in  Lucerne  in  1517,  for  he  decorated  the  house  of 
Jacob  von  Hertenstein  there. 

In  1519,  however,  he  was  in  Basle  again.  How  long  he  had 
remained  in  Lucerne  we  do  not  know,  nor  do  we  know  if  he  visited 
Italy  before  this  second  coming  to  Basle,  as  some  biographers  assert. 
Holbein’s  biographer,  Van  Mander,  denies  that  Holbein  ever  was 
in  Italy,  yet  the  decorations  and  frescoes  he  did  for  the  Basle  Town 
Council  show  undoubted  acquaintance  with  Italian  art,  such  an 
acquaintance,  indeed,  as  leads  one  to  a certainty  of  belief  that  Holbein 
studied  that  art  most  carefully.  In  Basle  he  now  found  his  brother 
Ambrose  working  for  the  printers  and  goldsmiths  of  the  town  as  a 
member  of  the  Guild.  Amerbach,  the  printer,  was  a fellow-towns- 
man of  Holbein’s,  and  it  is  no  doubt  to  Amerbach  that  Holbein 
owed  his  admission  to  the  same  Guild.  This  was  in  the  last  quarter 
of  1519.  In  1520  Holbein  became  enrolled  a citizen  of  Basle  in 
order  that  he  might  be  in  a position  to  pursue  his  art  as  a master. 

Although  but  twenty-three  years  of  age,  at  this  time,  Holbein 
was  a shrewd  and  careful  Teuton  with  the  Teuton’s  eye  for  the  main 
chance.  His  portrait  of  himself,  painted  about  this  period  in  pastel, 
shows  him  to  possess  firm  self-reliance,  and  depicts  the  face  of  a man 
of  a practical  sense  undisturbed  by  theories  or  fine  notions  of  the 
world.  It  is  the  face  of  a man  who  believed  in  himself  and  who,  at 
the  same  time,  would  be  careful  to  take  advantage  where  advantage 

7 


was  to  be  obtained.  At  twenty-three,  then,  he  married  a widow  with 
two  children.  His  citizenship  and  his  marriage  established  him  in 
Basle  as  a respectable  burgher,  and  enabled  him  to  set  himself  up 
in  business  as  master  craftsman  and  artist. 

In  Basle  Holbein  came  to  know  Diirer  and  his  work,  and  in 
Basle  also  he  met  Erasmus  and  came  under  the  influence  of  the 
Humanist  movement.  How  far  Holbein  benefited  intellectually  by 
his  acquaintance  with  Erasmus  we  cannot  say,  but  he  must  have  bene- 
fited greatly.  Holbein  had  had  little  or  no  education  at  Augsburg, 
yet  his  series  of  drawings  for  “ The  Dance  of  Death  ” and  the  “ Pas- 
sion” show  an  unusual  intellectual  accomplishment  as  well  as  in- 
ventive genius.  The  acquaintance  must  have  been  of  a very  friendly 
nature,  since  Holbein  painted  several  portraits  of  Erasmus.  But 
this  intimacy  did  not  interfere  with  his  relations  with  the  Catholics 
of  the  town,  for  it  is  to  Jacob  Meier,  the  Catholic  Burgomaster  of 
Basle,  that  we  owe  the  splendid  “ Meier  Madonna,”  now  in  the  pal- 
ace of  Prince  William  of  Hesse  at  Darmstadt,  and  known  to  the 
world  generally  by  the  copy  of  it  hanging  in  the  Dresden  Gallery. 
Meier  gave  this  commission  to  Holbein  and  asked  the  artist  to  pic- 
ture himself,  his  wife  and  children  in  devotion  before  the  Virgin 
Mary.  The  drawings  for  this  splendid  picture  are  in  the  Basle  Col- 
lection. 

Holbein  lived  and  worked  in  Basle  for  seven  years.  During 
that  time  he  painted  his  famous  portraits  of  Amerbach  and 
Erasmus  (1523),  The  Passion  Series  for  the  Basle  Altarpiece, 
a Venus,  a diptych  (Mater  Dolorosa  and  Christ  the  Man  of 
Sorrows),  the  “Dead  Man”  and  other  paintings,  as  well  as  de- 
signs for  the  “ Dance  of  Death,”  and  many  wood  engravings.  The 
Amerbach  portrait  is  a revelation  of  Holbein’s  mastery  of  his  art 
and  excellent  power  to  reproduce  his  own  sympathetic  appreciation 
of  the  character  of  his  sitter.  The  picture  is  the  living  man,  and 
none  other.  Mr.  Ford  Madox  Hueffer,  in  his  careful  and  dis- 
criminating little  monograph  on  Holbein,  writes  of  this  Amerbach 
portrait:  “ It  is  as  if  Holbein  had  had,  not  the  one  sitting  that  was 
all  so  many  of  his  later  subjects  afforded  him,  but  many  days  of 
observation  when  his  friend  was  unaware  that  he  was  under  the  pro- 
fessional eye.  In  the  course  of  a summer  walk  along  the  flowery 
meadows  of  the  Rhine  near  Klein  Basle  . . . perhaps  Holbein 
glanced  aside  at  his  companion.  Amerbach’s  eye  had,  maybe,  caught 
the  upspringing  of  some  lark,  and  the  sight  suspended  for  a moment 
some  wise,  witty,  slightly  sardonic  and  pleasantly  erudite  remark.  Be- 

8 


tween  the  pause  and  the  speech  Holbein  looked — and  the  thing  was 
done.  Hypothesis  or  not,  that  is  the  general  suggestion  that  the 
portrait  makes,  and  its  actuality,  its  accidental  dramatic  effect,  lifts 
it  up,  just  a little,  above  much  work  that  he  did  after.” 

By  the  end  of  1522  Holbein  had  completed  what  he  could  of 
the  decorations  he  had  undertaken  to  execute  for  the  city’s  council 
chamber.  Then  for  two  or  three  years  we  lose  sight  of  him.  It 
may  be  that  he  travelled  at  this  period  in  France,  for  we  find  he 
made  drawings  from  the  De  Berry  monuments  at  Bourges,  and  we 
also  know  that  the  “ Dance  of  Death  ” was  first  published  at  Lyons, 
though  many  years  later.  We  have  no  substantiated  information 
as  to  his  movements  until  1526,  when  we  know  Holbein  was  back 
in  Basle  preparing  to  leave  for  England.  What  it  was  that  made 
him  undertake  such  an  unusual  journey  has  been  matter  for  specu- 
lation for  all  biographers  of  Holbein.  It  may  be  that  commissions 
were  not  so  plentiful  on  the  continent  now  that  the  new  religious 
movement  had  put  a ban  on  church  decoration;  it  may  be  that  Hol- 
bein was  not  happy  with  his  widow;  it  may  be  that  he  was  drawn  to 
England  by  Erasmus’s  friend,  Sir  Thomas  More.  Whatever  may 
be  the  reason  for  his  emigration,  its  undertaking  was  the  turning  point 
in  Holbein’s  life.  His  first  short  visit  to  England  was  productive 
of  “The  Household  of  Sir  Thomas  More,”  a picture  that  reveals 
to  us  more  of  the  character  of  More  and  his  home  than  all  that 
Roper  has  written  in  his  “ Life.”  He  also  did  a fine  portrait  (now 
in  the  Lambeth  Collection)  of  Archbishop  Warham  and  that  won- 
derful portrait-picture  of  Thomas  and  John  Godsalve. 

The  year  1528-29  found  Holbein  once  more  in  Basle,  established 
in  a house  of  his  own,  bought  with  the  money  earned  in  Eng- 
land, and  busy  soon  on  the  completion  of  the  decorations  for  the 
town’s  Council  Chamber.  He  also  painted  the  town  clock.  But 
Basle  was  not  the  place  now  that  it  had  been  in  1525.  Erasmus  had 
left  it  and  Amerbach  had  departed  from  its  pleasant  places.  It 
was  no  longer  the  centre  of  Humanist  activity,  but  given  over  to 
broils  and  quarrels  and  wranglings  between  fanatic  reformers.  The 
glory  of  the  Renaissance  had  died  out  of  it,  and  no  longer  illumined 
its  streets  and  squares  and  homes.  Holbein  was  alone  and  looked 
in  vain  for  those  with  whom  he  could  companion  himself.  He  had 
little  or  no  opportunity  for  expressing  himself  in  his  art,  for  com- 
missions came  rarely  from  either  public  or  private  sources.  This  man 
of  the  Renaissance  had  outlived  the  city’s  part  in  the  movement,  and 
was  out  of  sympathy  with  the  petty  doings  that  now  went  on  in  it.  He 

9 


went  to  where  the  movement  that  had  given  him  life  was  still  pul- 
sating in  the  hearts  and  minds  of  the  people — to  England — and  there 
he  remained  for  ten  years,  refusing  a magnificent  offer  from  the 
Basle  Town  Council  to  return.  He  remained  in  England  until  the 
plague  finally  put  an  end  to  his  remarkable  activities. 

What  he  did  during  these  ten  years  may  be  seen  in  the  great  Royal 
Collection  of  drawings  at  Windsor,  in  the  portraits  in  the  London 
National  Gallery,  and  in  numerous  public  and  private  galleries 
which  contain  examples  of  his  masterpieces  in  portrait  painting. 
A mere  list  of  his  achievements  during  this  period  would  occupy 
more  space  than  we  can  afford  in  this  introduction;  but  it  will  be 
sufficient  to  refer  to  the  beautiful  “ George  Gisze,  Merchant  of  the 
Steelyard”  (in  Berlin),  the  portraits  of  Dr.  John  Chambers,  Sir 
Thomas  More,  Sir  Henry  Guildford,  Sir  Bryan  Tuke,  Robert 
Southwell,  the  Duke  of  Norfolk,  Henry  VIII,  Lady  Jane  Sey- 
mour, Anne  of  Cleves,  the  Sieur  de  Morette,  Christina  of 
Milan,  Thomas  Cromwell  and  others.  It  was,  no  doubt,  to  his 
acquaintance  with  Cromwell  that  Holbein  owes  his  introduction  to 
the  Court  of  Henry  VIII.  The  King  commissioned  him  to  paint 
a portrait  of  himself  and  family  and  showed  his  appreciation  of 
Holbein’s  work  by  placing  it  in  a distinguished  place  in  Whitehall 
palace.  Holbein  had  previously  shown  his  remarkable  power  in 
two  fine  paintings,  “The  Ambassadors”  and  the  “Triumphs  of 
Wealth  and  Poverty.”  These  with  the  Cromwell  picture  and  the 
King’s  family  picture  obtained  for  him  the  post  of  painter  to  the 
Court  of  Henry  VIII.  The  portrait  of  Christina  of  Milan  he 
painted  at  Brussels  in  1538.  From  Brussels  he  had  made  a visit  to 
Basle,  presenting  himself  among  his  friends  in  a rich  costume  and 
receiving  from  the  city  formally  the  gift  of  office  of  painter  to  the 
town. 

The  drawings  for  the  pictures  Holbein  painted  during  his  resi- 
dence in  England  are  preserved  in  Windsor  Castle.  There  are  eighty- 
seven  of  them,  and  are  either  originals  of  portraits  or  sketches  for 
portraits  that  are  lost  or  were  never  finished.  This  treasured  collec- 
tion has  been  reproduced  in  colors  and  published  by  Royal  per- 
mission. 

Of  all  Llolbein’s  artistic  achievements  the  series  of  drawings 
known  as  the  “ Dance  of  Death  ” is  perhaps  the  most  widely  known. 
The  work,  when  published  by  the  Trechsels  of  Lyons,  achieved  an 
immense  popularity.  It  became  known  throughout  Europe  and  was 
read  and  treasured  by  the  common  people  even  as  Bunyan’s  “ Pil- 

10 


grim’s  Progress  ” was  read  and  treasured  a century  and  a half  later. 
It  appealed  directly  to  the  hearts  of  the  people,  for  Holbein  had 
the  wonder-working  power  of  being  able  to  tell  a story  with  limpid 
lucidity.  There  was  no  mistaking  his  meaning,  and  he  did  this  work 
with  such  conscientious  attention  to  the  minutest  details  that  he  who 
ran  might  read  and  understand  the  moral  he  intended  to  convey. 
The  burden  of  his  art,  in  this  instance,  is  “ Remember,  oh  man,  that 
thou  art  mortal.”  Such  a lesson,  coming  as  it  did,  at  a time  of  deep 
unrest  and  spiritual  disquietude  was  accepted  eagerly.  Poor  as  well 
as  rich  took  comfort  from  it  and  each  found  his  own  content  in  it — 
the  rich  that  his  richer  friends,  and  the  poor  that  his  more  ad- 
vantaged neighbor,  would  alike  succumb  in  the  wide  arms  of  a com- 
mon death.  The  book  was  carried  to  the  meanest  hovel  as  well  as  to 
the  most  stately  castle.  It  was  Holbein’s  “ Death  of  Death”  that  gave 
Rubens  his  first  lessons  in  drawing,  and  Rubens  must  have  been  but 
one  among  many  who  was  thus  indebted  to  this  little  masterpiece. 
We  may  properly  end  this  little  sketch  with  what  Mr.  Ford  Madox 
Huefifer  concludes  his  appreciation  of  Holbein:  “ Other  artists 

are  giving  us  more  light,  others  again  have  given  us  both  more 
light  and  more  shadow  or  more  shadow  alone.  But  no  other  artist 
has  left  a more  sincere  rendering  of  his  particular  world,  and  no 
other  artist’s  particular  world  is  compact  of  simulacra  more  convinc- 
ing, more  illusory,  or  more  calculated  to  hold  our  attentions.  He 
has  redeemed  a whole  era  for  us  from  oblivion,  and  he  had  forced 
us  to  believe  that  his  vision  of  it  was  the  only  feasible  one.  This  is 
all  that  the  greatest  of  art  can  do,  whether  it  takes  us  into  a world 
of  the  artist’s  fancy  or  into  one  of  his  fellowmen.  And,  by  rescuing 
from  oblivion  these  past  eras  it  confers  upon  us,  to  the  extent  of  its 
hold,  a portion  of  that  herb  oblivion,  a portion  of  that  forgetfulness 
of  our  own  selves,  which  is  the  best  gift  that  Art  has  to  bestow.” 


HANS  HOLBEIN 


ABBREVIATIONS  AND  EXPLANATIONS 


H.  = Height 
B.  = Width 


Auf  HoLZ  = on  wood 
Auf  Leinwand  = on  canvas 
Auf  Schiefer  = on  slate 


The  figures  giving  the  sizes  of  the  paintings  stand  for  metres 


JUGENDWERKE 

AUFENTHALT  IN  BASEL  UND  IN  LUZERN 

1514—1519 


EARLIEST  WORKS  CEUVRES  DE  JEUNESSE 


STAY  AT  BASLE  AND  AT  LUCERNE 
1514 — 1519 


SEJOUR  A BALE  ET  A LUCERNE 
1514—1519 


Holbein  d.  J.  1 


* Basel,  Oeffentliche  Kunstsammlung  H.  0,375,  B.  0,302 

Madonna  mit  Kind 

Madonna  and  child  1514  La  Vierge  et  l'Enfant 


3 


4 


* Karlsruhe,  Grofiherzogl.  Kunslhalle 


5 


* Karlsruhe,  Grofihcrzogl.  Kunsthalle  H.  0,73,  B.  1,39 

Die  Dornenkronung  (Riickseite  der  Kreuztragung) 

The  crowning  with  thorns  (Back  of  Nr.  4)  1515  Couronnement  d'epines  (Revers  de  N°  4) 


6 


*Rekonstruktion  der  bemalten  Tischplatte  fur  Hans  Baer  von  Basel 
Reconstruction  of  the  table  painted  for  Hans  Baer  of  Basle  Reconstruction  du  dessus  de  table  peint  pour  Hans  Baer  de  Bale 


•Zurich,  Sclnvelzerlsches  Laiidesmuseum 


Table  painted  for  Hans  Baer  of  Basle 


Bemalte  Tischplatte  fur  Hans  Baer  von  Basel 

1515  Dessus  de  table  peint  pour  Hans  Baer  de  Bale 


H.  1,02,  B.  1,36 


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* Basel,  Oeffentllche  Kunstsammlung  H.  0,548,  B.  0,647 

Aushangeschild  eines  Schulmeisters  (Vorderseite) 

Sign-board  of  a schoolmaster  1516  Enseigne  d’un  maitre  d’ecole 

(Front)  (Devant) 


isITg  Jii  §4  - 

Can. __ 

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11 


* Basel,  Oeffentllche  Kunstsammlung  II.  0,548,  B.  0,647 

Aushangeschild  eines  Schulmeisters  (Riickseite) 

Sign-board  of  a schoolmaster  1516  Enseigne  d’un  maitre  d’ecole 

(Back)  (Revets) 


• Basel,  Oetfcntllclie  Kunstsammlung  H.  0,38,  B.  0,306 

Burgermeister  Jakob  Meyer  von  Basel 

The  burgomaster  Jakob  Meyer  of  Basle  1516  Le  bourgmestre  Jacques  Meyer  de  Bale 


12 


* Basel,  Oeffentllche  Kunstsammlung  H.  0,38,  B.  0,306 

Dorothea  KannengieBer,  Gattin  des  Jakob  Meyer 
Dorothy  Kannengiesser,  1516  Dorothee  Kannengiesser, 

wife  of  Jakob  Meyer  epouse  de  Jacques  Meyer 


13 


14 


* Basel,  Oeffentliche  Kunstsammlung  Papier  auf  Holz,  H.  0,30,  B.  0,357 

Adam  und  Eva 

Adam  and  Eve  1517  Adam  et  Eve 


*New-York,  Metropolitan-Museum  H.  0,39,  B.  0,278 

Benedikt  von  Hertenstein 

1517 


15 


* Luzern,  Kunstverein 


H.  1,36,  B.  0,65 


Lucretia  ersticlit  sich  zu  FiiBen  ihres  Gatten 

Freskobruchsttick  von  der  Fassade  des  Hertensteinhauses  in  Luzern 

1517 


Lucretia  kills  herself  in  her  hus- 
band's presence 

Fragment  of  the  fresco,  formerly  at  the 
facade  of  the  Hertenstein-house 
at  Lucerne 


Lucretia  se  tue  en  presence 
de  son  mari 

Fragment  de  fresque,  autrefois  a la 
facade  de  la  maison  Hertenstein 
a Lucerne 


16 


UNDATIERTE  GEMALDE 
1514-1519 


UNDATED  PICTURES 
1514-1519 


PEINTURES  SANS  DATE 
1514—1519 


' Basel,  Oeffentliche  Kunstsammlung 

St.  John 


H.  0,228,  B.  0,211 


Der  heilige  Johannes 


Saint  Jean 


Holbein  d J.  2 


19 


* Basel,  Oeffentllche  Kunstsammlung 


A holy  virgin 


Eine  heilige  Jungfrau 

Une  sainte  vierge 


H.  0,228,  B.  0,211 


20 


21 


* Basel,  Oeffentliche  Kunstsammlung 


‘Basel,  Oeffentllche  Kunstsammlung 


H.  1,325,  B.  1,325 


Christus  am  Oelberg 


Christ  on  the  Mount  of  Olives 


Le  Christ  au  Mont  des  Oliviers 


22 


23 


♦Basel,  Oeffentliche  Kunstsammlung  H.  1,325,  B.  1,645 

Die  Gefangennahme  Christi 

Christ  is  taken  prisoner  L’arreslation  du  Christ 


^ Basel,  Oeffentllche  Kunstsammlung  H.  1,37,  B.  1,15 

Die  GeiBelung  Christi 

The  scourging  of  Christ  La  flagellation  du  Christ 


24 


25 


* Basel,  Oeffentllche  Kunstsammlung  H.  1,335,  B.  1,555 

Die  Handwaschung  des  Pilatus 

Pilate  washes  his  hands  Pilate  se  lavant  les  mains 


ZWEITER  AUFENTHALT  IN  BASEL 
1519—1526 


SECOND  STAY  AT  BASLE 
1519—1526 


SECOND  SEJOUR  A BALE 
1519-1526 


§S|5 


B0N  *'\ORhACYn 
(0_I  lOLfiF  V JtPiM, 
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♦Basel,  Oeffentliche  Kunstsammlung  H.  0,278,  B.  0,275 

Bonifazius  Amerbach 

1519 


29 


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♦Basel,  Oeffentllche  Kunstsammlung  H.  0,498,  B.  0,495 

Die  samnitischen  Gesandten  vor  Curius  Dentatus 
Bruchstuck  des  Wandgemaldes,  ehemals  im  Gro6-Rat-SaaI  zu  Basel 
The  ambassadors  of  the  Samnites  before  Les  ambassadeurs  des  Samnites  devant 

Curius  Dentatus  0 ‘ Curius  Dentatus 

Fragment  of  the  fresco,  formerly  in  the  Great-  Fragment  de  la  fresque,  autrefois  dans  la  salle 

Council-Chamber  at  Basle  du  Grand-Conseil  a Bale 


31 


32 


J=  — 
U 'w 


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33 


Basel,  Oeffentliche  Kunstsammlung 


Saint  Georges 
Volet  d’autel 


•Karlsruhe,  Groflherzogl.  Kunsthalle 

Der  heilige  Georg 

Aitarfliigel 

St.  George  1522 

Wing  of  altar-piece 


34 


* Karlsruhe,  GroBherzogl.  Kunsthalle 

Die  heilige  Ursula 

Altarflugel 

St.  Ursula  1522 

Wing  of  altar-piece 


H.  1,11,  B.  0,38 


Sainte  Ursule 
Volet  d’autel 


Holbein  d.  J.  3 


35 


^Solothurn,  Stildt.  Museum 


H.  1,40,  B.  1,00 


Madonna  mit  dem  Kinde,  einem  heiligen  Bischof  und  dem  heiligen  Ursus 


Madonna  and  child  with  a saint  bishop 
and  Saint  Ursus 


1522 


La  Vierge  avec  l’Enfant,  un  saint  eveque  et 
Saint  Urs 


36 


♦Longford  Castle,  Earl  of  Radnor  H.  0,76,  B.  0,51 

Erasmus  von  Rotterdam 

1523 


37 


Basel,  Oeffentllche  Kunstsammlung 


Papier  auf  Holz,  H.  0,366,  B.  0,30 


Erasmus  von  Rotterdam 

1523 


38 


* Paris,  Louvre  H.  0,43,  B.  0,33 

Erasmus  von  Rotterdam 

1523 


39 


‘Basel,  Oeffentllche  Kunstsammlung  H.  0,347,  B.  0,265 

Magdalena  Offenburg  als  Lai's  von  Corinth 
Magdalen  Offenburg  as  Lai's  1526  Madeleine  Offenburg  comme  Lais 

of  Corinth  de  Corinthe 


40 


* Basel,  Oeffentliche  Kunstsammiung  H.  0,335,  B.  0,263 

Magdalena  Offenburg  als  Venus 

Magdalen  Offenburg  as  Venus  1526  Madeleine  Offenburg  cotnme  Venus 


41 


UNDATIERTE  GEMALDE 
1519-1526 


UNDATED  PICTURES 
1519-1526 


PEINTURES  SANS  DATE 
1519—1526 


45 


♦Basel,  Oeffentllche  Kunstsammlung  Jedes  Bild  H.  0,287,  B.  0,193 

Christus  als  Schmerzensmann  und  Maria  als  schmerzensreiche  Mutter 

Christ,  the  man  of  sorrows  and  Mary,  the  Le  Christ,  l’homme  des  douleurs,  et 

mater  dolorosa  Marie  comme  mater  dolorosa 


* Basel,  Oeffentllclie  Kunstsammlung 


H.  1,50,  B.  1,485 


Die  Passion  Christi 

(Auflenseiten  der  Fliigel  eines  Triptychons) 


The  passion  of  Christ 

(Outsides  of  the  wings  of  a triptych) 


La  passion  du  Christ 

(Volets  d’un  triptyque,  cotes  exterieurs) 


46 


Basel,  Oeffentliche  Kunstsammlung  H.  0,68,  B.  0,324 

Die  Passion  Christi  (Ausschnitt) 

Christus  am  Oelberg 

The  passion  of  Christ  (Detail)  La  passion  du  Christ  (Detail) 

Christ  on  the  Mount  Le  Christ  au  Mont 

of  Olives  des  Oliviers 


47 


Basel,  OeffentHche  Kunstsammlung  H.  0,737,  B.  0,324 

Die  Passion  Christi  (Ausschnitt) 

Gefangennahme 

The  passion  of  Christ  (Detail)  La  passion  du  Christ  (Detail) 
The  betrayal  of  Christ  L'arrestation 


48 


Basel,  Oeffentliche  Kunstsammlung 


H.  0,737,  B.  0,328 


Die  Passion  Christi  (Ausschnitt) 

Christus  vor  Kai'phas 

The  passion  of  Christ  (Detail)  La  passion  du  Christ  (Detail) 
Christ  before  Caiaphas  Le  Christ  devant  Caiphe 


49 


* Basel,  Oeffentllche  Kunstsammlung  H.  0,688,  B.  0,325 

Die  Passion  Christi  (Ausschnitt) 

Geillelung 

The  passion  of  Christ  (Detail)  La  passion  du  Christ  (Detail) 
The  scourging  La  flagellation 


50 


Basel,  Oeffentliche  Kunstsammlung 


H.  0,757,  B.  0.324 


Die  Passion  Christi  (Aussclinitt) 

Verspottung 

The  passion  of  Christ  (Detail)  La  passion  du  Christ  (Detail) 

The  mocking  I. a derision 


Holbein  d.  J.  4 


51 


Basel,  Oeffentllche  Kunslsnmnilung  11.0,757,  B.  0,324 

Die  Passion  Christi  (Ausschnitt) 

Kreuztragung 

The  passion  of  Christ  (Detail)  La  passion  du  Christ  (Detail) 
Christ  bearing  (he  cross  Le  Christ  portant  la  croix 


52 


Basel,  Oeffentllche  Kunstsammlung  H.  0,757,  B.  0,328 

Die  Passion  Chrisli  (Ausschnitt) 

Kreuzigung 

The  passion  of  Christ  (Detail)  La  passion  du  Christ  (Detail) 
The  crucifixion  La  crucifixion 


53 


Basel,  Ocffentliche  Kunstsammlung 

Die  Passion  Christi  (Ausschnitt) 


H.  0,68,  B.  0,325 


Grablegung 

The  passion  of  Christ  (Detail)  La  passion  du  Christ  (Detail) 
The  entombment  La  sepulture 


54 


* Basel,  Oeffentliche  Kunstsammlung 


H.  1,145,  B.  0,957 


Das  heilige  Abendmahl 

Mittelbild  eines  Triptychons 


The  Lord’s  Supper 
(Central  picture  of  a triptych) 


La  Sainte  Cene 
(Milieu  d’un  triptyque) 


55 


* Freiburg  i.  Brelsgau,  UnlversiUltskapelle  Ini  Miinstcr  H.  2,27,  B.  1,08 


Anbetung  der  Hirten 

Linker  Fliigel  des  Oberried-Aitars,  Imienseite 
The  adoration  of  t lie  shepherds  L’adoration  des  bergers 

Left  wing  of  the  Oberried-altar,  Volet  gauche  de  f'autel  d'Oberried, 

inside  cote  interieur 


56 


•Freiburg  i.  Breisgau,  Universitatskapelle  im  Munster  H.  2,27,  B.  1,08 

Anbetung  der  Konige 
Rechter  Flugel  des  Obeiried-Altars,  Innenseite 
The  adoration  of  the  magi  L’adoration  des  rois 

Right  wing  of  the  Oberried-altar,  Volet  droit  de  l’autel  d’Oberried, 

inside  cote  interieur 


57 


Freiburg  i.  Breisgnu,  Unlversltiitskapelle  im  Munster 


Anbetung  der  Hirten  (Ausschnitt) 

Der  Slitter  Hans  Oberried  von  Basel  und  seine  Sohne 
The  adoration  of  the  shepherds  L’adoration  des  bergers 

The  donor  Hans  Oberried  and  his  sons  Le  donateur  Hans  Oberried  et  ses  tils 

(Detail)  (Detail) 


58 


Freiburg  1m  Breisgau,  Unlversitiitskapelle  im  Munster 


Anbetung  der  Konige  (Ausschnitt) 
The  adoration  of  the  magi 
(Detail) 


L’adoration  des  rois 
(Detail) 


59 


Hook,  Kgl»  Museum  0,45,  B.  0,34 

Weibliches  Bildnis,  vermutlich  des  Kiinstlers  Gattin 
Female  portrait,  probably  Portrait  d’une  femme,  probablement 

the  artist's  spouse  l’epouse  de  t’artiste 


60 


61 


Basel,  Oeffentllchc  Kunstsammlung  H.  2,82,  B.  1,65 

Kaiser  Heinrich  II.  mit  dem  Munster  von  Basel 
Linke  Fliigelture  der  Orgel,  ehemals  im  Munster  zu  Basel 
Emperor  Henry  II.  with  the  cathedral  of  Basle  L'empereur  Henri  II  avec  la  cathedrale  de  Bale 
Left  door  of  the  organ  Volet  gauche  de  l’orgue 


62 


Basel,  Oeffentliche  Kunstsammlung  H.  2,82,  B.  1,65 

Maria  mit  dem  Kinde  von  Engeln  gepriesen 

Rechte  Flugelliire  der  Orgel,  ehemals  im  Munster  zu  Basel 
The  Virgin  with  the  child  glorified  by  angels  La  Vierge  avec  l'Enfant  glorifiee  par  des  anges 
Right  door  of  the  organ  Volet  droit  de  l’orgue 


63 


Basel,  Ocffentliche  Kunstsammlung 

Kaiserin  Kunigunde 

TOrfliigel  zum  Vorb.iu  der  Orgel, 
The  empress  L’imperatrice 

Cunegurid  Cunegonde 

Small  door-wings  of  (lie  organ 


Jeries  Bild  H.  2,43,  B.  0,62 

St.  Pantalus,  Bischof 

eliemals  im  Munster  zu  Basel 

T he  bishop  L’eveque 

St.  Pantalus  St.  Pantalus 
Petits  volets  de  l’orgue 


64 


Darmstadt,  GroBherzogl.  SchloB 


H.  1,44,  B.  1,01 


Die  Madonna  mit  der  Familie  des  Biirgermeisters  Jakob  Meyer 


The  Virgin  with  the  family  of  the 
burgomaster  Jacob  Meyer 


La  Vierge  avec  la  familie  du  bourgmestre 
Jacques  Meyer 


65 


Basel,  Oeffentllche  Kunstsammlung  H.  0,445,  B.  0,317 

Das  Buchdruckerzeichcn  des  Johannes  Froben 
The  emblem  of  file  printer  John  Froben  L’embleme  de  l’imprimeur  Jean  Froben 


66 


ERSTER  AUFENTH ALT  IN  ENGLAND 


1526—1528 


FIRST  STAY  IN  ENGLAND 
1526-1528 


PREMIER  SEJOUR  EN  ANGLETERRE 
1526—1528 


Holbein  d.  J.  5 


♦London,  Edward  Huth  H.  0,742,  B.  0,59 

Sir  Thomas  More 

1527 


69 


* London,  Lambeth  Palace  H.  0,761,  B.  0,653 

William  Warham,  Erzbischof  von  Canterbury 

William  Warham,  Archbishop  of  Canterbury  1527  William  Warham,  Archeveque  de  Canterbury 


70 


* Paris,  Louvre  H.  0,82,  B.  0 67 

William  Warham,  Erzbischof  von  Canterbury 

William  Warham,  Archbishop  of  Canterbury  1527  William  Warham,  Archeveque  de  Canterbury 


71 


•Windsor,  Kgl.  SchloB  H.  0,814,  B.0,66 

Sir  Henry  Guildford 

1527 


72 


•Paris,  Louvre  H.  0,83,  B.  0,67 

Bildnis  des  Astronomen  Niklaus  Kratzer 

Portrait  of  the  astronomer  Nicholas  Kratzer  1528  Portrait  de  l’astronome  Nicolas  Kratzer 


73 


♦Dresden,  KrI-  GcmiSIdegalerle  H.  0,35,  B.  0,35 

Thomas  Godsalve  und  sein  Sohn  John 

Thomas  Godsalve  and  his  son  John  1528  Thomas  Godsalve  et  son  fils  John 


74 


UNDATIERTE  GEMALDE 
1526—1528 


UNDATED  PICTURES 
1526-1528 


PEINTURES  SANS  DATE 
1526-1528 


- 


77 


Dalkeith  Castle,  Herzog  von  Buccleuch  H.  0,913,  B.  1,017 

Sir  Nicholas  Carew 


* Paris,  Louvre  H.  0,39,  B.  0,31 

Sir  Henry  Wyat 


78 


RlANVS  TVK£.  MILLS. 


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Sir  Bryan  Tuke 


79 


80 


Christus  erscheint  der  Maria  Magdalena 


DRITTER  AUFENTHALT  IN  BASEL 
1528—1531 

THIRD  STAY  AT  BASLE  TROISIEME  SEJOUR  A 

1528—1531  1528—1531 


BALE 


•'  Basel,  Oeffentliche  Kunstsammlung 


The  artist’s  family 


Die  Familie  des  Kiinstlers 

1523/29 


Papier  auf  Holz,  H.  0,795,  B.  0,655 


La  familie  de  l’artiste 


Holbein  d.  J.  6 


83 


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Basel,  Oeffentliche  Kunstsammlung  H.  0,29,  B.  0,29  H.  0,29,  B.  0,24 

Konig  Rehabeam  droht  den  Raten  und  Aeltesten  des  Volkes 
Bruchstucke  des  Wandgemaldes,  ehemals  im  Gro8-Rat-SaaI  zu  Basel 

King  Rehoboam  threatens  the  counsellors  and  Ihe  aldermen  of  the  people  1530  Le  roi  Roboam  menace  Ies  conseillers  et  les  anciens  du  peuple 

Fragments  of  the  fresco,  formerly  in  the  Great-Council-Chamber  at  Basle  Fragments  de  la  fresque,  autrefois  dans  la  salle  du  Grand-Conseil  a Bale 


Pnrma,  Oolerle  H.  0,33,  B.  0,25 

Erasmus  von  Rotterdam 

1530 


86 


UNDATIERTE  GEMALDE 
1528—1531 


UNDATED  PICTURES 
1528—1531 


PORTRAITS  SANS  DATE 
1528—1531 


* Basel,  Oeffentllche  Kunstsammlung 


H.  0,258,  B.  0,18 


Bildnis  eines  jungen  Weibes 

Portrait  of  a young  woman  Portrait  de  jeune  femme 


89 


* Basel,  Oeffentliche  Kunstsuramlung 

Erasmus  von  Rotterdam 


Durchmesser  0,10 


90 


*New-York,  Metropolitan-Museum 


H.  0,187,  B.  0,145 


Erasmus  von  Rotterdam 


91 


* Hannover,  Provlnzlalmuseum  Durchmesser  0,12 

Deckel  zum  Bildnis  Melanchthons  (Innenseite) 

Inside  of  the  lid  of  the  picture  Partie  interieure  du  couvercle  de  la  peinture 


92 


ZWEITER  AUFENTHALT  IN  ENGLAND 

1532-1543 


A.  BIS  ZUM  EINTRITT  IN  DEN  DIENST  KONIG  HEINRICHS  VIII. 

1532—1536/37 

SECOND  STAY  IN  ENGLAND  SECOND  SEJOUR  EN  ANGLETERRE 

1532—1543  1532-1543 


A.  BEFORE  HIS  ENTRANCE  IN  THE  SERVICE 
OF  KINO  HENRY  VIII. 


A.  AVANT  D'ENTRER  AU  SERVICE 
DU  ROI  HENRI  VIII 


♦Berlin,  Kaiser-Friedrich-Museum  H.  0,963,  B 0,857 

Bildnis  des  Kaufmanns  Georg  Gisze 

Portrait  of  the  merchant  George  Gisze  1532  Portrait  du  marchand  Georges  Gisze 


95 


* Windsor,  Kgl.  ScliloB  H.  0,60,  B.  0,45 

Bildnis  des  Goldschmieds  Hans  von  Antwerpen 

Portrait  of  the  goldsmith  Hans  of  Antwerp  1532  Portrait  de  l’orfevre  Hans  d’Anvers 


96 


*Wien,  Graf  Schonborn  H.  0,40,  B.  0 31 

Bildnis  eines  Wedigh  von  Coin 

A member  of  the  Wedigh  family  of  Cologne  1532  Un  membre  de  la  famille  Wedigh  de  Cologne 


97 


* Berlin,  Kalscr-Frledrlch-Museum 

Hermann  Hillebrandt  Wedigli  von  Coin 

1533 


H.  0,39,  B.  0,30 


98 


* Braunschweig,  Herzogl.  Museum 


H.  0,60,  B.  0,45 


Cyriacus  Fallen 

1533 


Holbein  d.  J. 


7 


99 


* Windsor,  Kgl.  Schlofl 

Dietrich  Born  aus  Coin 

Derrick  Born  of  Cologne  1533  Thierri  Born  de  Cologne 


100 


Wien,  Hofmuseum 


H.  0,48,  B.  0,35 


Dirk  Tybis  aus  Duisburg 

1533 


101 


Robert  Cheseman,  Falkner  Heinrichs  VIII. 

Robert  Cheseman,  falconer  of  Henry  VIII.  1533  Robert  Cheseman,  fauconnier  de  Henri  VIII 


102 


* London,  Nationalgalerle  H.  2,06,  B.  2,09 

Die  Gesandten 

Jean  de  Dinteville  und  Georges  de  Selve,  Bischof  von  Lavour 
The  ambassadors  Jean  de  Dinteville  1533  Les  ambassadeurs  Jean  de  Dinteville 

and  George  de  Selve,  bishop  of  Lavour  et  Georges  de  Selve,  eveque  de  Lavour 


103 


* Brussel,  Frau  L.  Goldschnildt-Przibram 


Durchmesser  0,125 


Bildnis  eines  jungen  Marines 


Portrait  of  a young  man 


1533 


Portrait  de  jeune  homme 


104 


G QJ 

S 1 

C3  <U 

O ^ 


105 


Jedes  Bi Id  Durchmesser  0,12 


* Tyttenhonger  Park,  Earl  of  Caledon 


H.  0,76,  B.  0,61 


El  J)RVDrNSXHRI5Ti.REGiSOVF.M»rtR£ONSTAN5‘.VfR.PH(>lP7 YS.PFXTORF; FRONTI  MANY 

VLX.lN.AMlCfi  1A.TALIS  ViX  S’  ASC1TVR  HERDS . PLYS  PATR1E . FID  VS  PLVS.  PIE  TATIS.  AM  ANS  > 


Thomas  Cromwell 

1532—1534 


106 


* Petworth,  Lord  Leconfield  H.  0,536,  B.  0,424 

Dirk  Berck  aus  Coin 

1536 


107 


#Florenz,  UfMzlen  H.  0,47,  B.  0,36 

Sir  Richard  Southwell 

1536 


108 


♦London,  Hamon  le  Strange,  Esq. 


H.  0,39,  B.  0,267 


Sir  Thomas  Le  Strange 

1536 


109 


UNDATIERTE  GEMALDE 
1532-1536/37 

UNDATED  PICTURES  PORTRAITS  SANS  DATE 

1532—1536  37  1532—1536  37 


* Hampton  Court  Palace  H.  0,463,  B.  0,338 

John  Reskimer  of  Murthyr 


113 


* London,  Georges  Salting  f 


Durclimesser  0,13 


The  goldsmith 


Der  Goldschmied  Hans  von  Antwerpen 
Hans  of  Antwerp  L’orfevre 


Hans  d’Anvers 


114 


*SchloB  Ripaille  bei  Thonon,  F.  Engel-Gros 


H.  0,096,  B.  0.093 


Bildnis  eines  Hofbeamten  Konig  Heinrichs  VIII. 


Portrait  of  an  officer  at  court 
of  King  Henry  VIII. 


Portrait  d’un  officier  de  la  cour 
du  roi  Henri  VIII 


Holbein  d.  J.  8 


115 


Dresden,  Kgl.  OemSIdegalerie 


H.  0,925,  B.  0,754 


Charles  de  Solier  Sieur  de  Morette 


116 


ZWEITER  AUFENTHALT  IN  ENGLAND 

1532—1543 

B.  1M  DIENSTE  KONIG  HEINRICHS  VIII. 

1536/37—1543 

SECOND  STAY  IN  ENGLAND  SECOND  SEJOUR  EN  ANGLETERRE 

1532-1543  1532—1543 


B.  IN  THE  SERVICE  OF  KING  HENRY  VIII. 
1536/37-1543 


B.  AU  SERVICE  DU  ROI  HENRI  VIII 
1536/37-  1543 


Wien,  Hofmuseum  H.  0,65,  B.  0,48 

Jane  Seymour,  Konigin  von  England 

Jane  Seymour,  Queen  of  England  1536  Jane  Seymour,  reine  d’Angleterre 


119 


Althorp,  Earl  Spencer  H.  0,28,  B.  0,19 

Konig  Heinrich  VIII.  von  England 

King  Henry  VIII.  of  England  1537  Henri  VIII,  roi  d’Angleterre 


120 


* London,  Natlonalgalerie  H.  1,78,  B.  0,81 

Prinzessin  Christine  von  Danemark,  verwitwete  Herzogin  von  Mailand 
Princess  Christina  of  Denmark  1538  Princesse  Christine  de  Danemark 
„The  duchess  of  Milan“  La  duchesse  douairiere  de  Milan 


121 


I AR.VVLE  PATRISSA,  PATRIAE  VIRTVTIS  ET  KAK.ES 
Esto,  NIHIL  MAIVS  MAXIAAVS  ORBIS  HABET, 
CjNATVM  VIX  POS5VNT  COELVM  ET  NAT  VRA  DEDISSE 
Hvivs  QVEM  PATRIS,  V1CTVS  HONOR. ET  HONOS. 
A^QYATO'  TANTVW,  TANTI  TV  FACTA  PARENTIS, 

VoTA  HOMINVM,VIX  QVO  PROG  R F DIANTV  R,  HABENT 
VlNCITO,  VICISTI.  QVOT  REGES  PRISCVS  ADORAT 
Orris,  nec  TE  qvi  vincere  fossit,  erit.  •fcs. 


Hannover,  Provlnzlal-Museum  H.  0,555,  B.  0,43 

Eduard,  Prinz  von  Wales 

Edward,  Prince  of  Wales  1538—1539  Edouard,  prince  de  Galles 


122 


123 


•Paris,  Louvre  Pergament  auf  Lelnwand,  H.  0,66,  B.  0,49 

Prinzessin  Anna  von  Cleve,  nachmalige  Gattin  Konig  Heinrichs  VIII. 

Princess  Anne  of  Cleves,  after  queen  1539  Princesse  Anne  de  Cleve,  ensuite  reine 


124 


Rom,  Nationalgalerie 


H.  0,882,  B.  0,75 


Konig  Heinrich  VIII.  von  England 

King  Henry  VIII.  of  England  1539—1540  Henri  VIII,  roi  d’Angleterre 


125 


London,  Colnaglll  & Clc.  H.  0,736,  B.  0,50 

Katharina  Howard,  Konigin  von  England 

Catherine  Howard,  Queen  of  England  1540—1541  Catherine  Howard,  reine  d’Angleterre 


126 


*Wien,  Hofmuseum  H.  0,47,  B.  0,35 

Bildnis  eines  jungen  Marines 

Portrait  of  a young  man  1541  Portrait  de  jeune  horame 


127 


* Berlin,  Kalser-Friedrlch-Museum  H.  0,47,  B.  0,36 

Bildnis  eines  Unbekannten 

Portrait  of  an  unknown  man  1541  Portrait  d’un  inconnu 


128 


* Haag,  Kgl.  Museum  H.  0,25,  B.  0,19 

Edelmann  mit  einem  Falken 

A nobleman  with  a falcon  1542  Un  gentilhomnie  avec  un  faucon 


129 


130 


Konig  Heinrich  VIII.  verleiht  der  Barbier-  und  Chirurgengilde  in  London  einen  Freibrief 
King  Henry  VIII.  bestowes  a charter  to  the  1541—1543  Le  roi  Henri  VIII  accorde  une  lettre  de  franchise 

corporation  of  barbers  and  surgeons  & la  corporation  des  barbiers  et  chirurgiens 


* Wien,  Hofmuseum  H.  0,65,  B 0,18 

Dr.  John  Chambers 
1541-1543 


Holbein  d J.  9 


131 


' Boston,  Mrs.-Oardner-Museum 


H.  0,46,  B.  0,36 


Sir  William  Butts 

1541-1543 


132 


* Boston,  Mrs.-Gardner-Museum 

Lady  Margaret  Butts 

1541—1543 


H.  0,46,  B.  0,36 


133 


* Florenz,  IJftlzlen  Altes  Stuck  H.  0,23,  B.0,18,  GesamtgroBe  H.  0,35,  B.  0,2$ 

Selbstbildnis  Hans  Holbeins 

Hans  Holbein’s  own  portrait  1543  Le  portrait  de  Holbein  par  lui-meme 


134 


UNDATIERTE  GEMALDE 
1536  37—1543 


UNDATED  PICTURES 
1536  37—1543 


PEINTURES  SANS  DATE 
1536/37-1543 


*Bulstrode-Park,  Sir  John  Ramsden,  B. 


Portrait  of  a musician 


Bildnis  eines  Musikers 

(Jean  de  Dinteville) 


H.  0,435,  B.  0,435 


Portrait  d’un  musicien 


137 


' Basel,  Dr.  Rudolph  Gelgy 


H.  0,37,  B.  0,30 


Mannliches  Bildnis 

Vermutlich  ein  Selbstportrat  des  Kunstlers 
Portrait  of  a man  Portrait  d'homme 

Probably  the  artist's  own  portrait  Probablement  le  portrait  de  l’artiste  par  lui-meme 


138 


* Frankfurt  a.  M.,  StSdelsches  Kunstlnstltut  H.  0,31,  B.  0,245 

Simon  George  of  Quocote 


139 


* Wien,  Hofmuseum 


H.  0,22,  B.  0,18 


Bildnis  einer  englischen  Dame 

Portrait  of  an  English  lady  Portrait  d'une  dame  anglaise 


140 


* Basel,  Oeffentliche  Kunstsammiung  H.  0,322,  B.  0,254 

Bildnis  eines  unbekannten  Herrn 

Portrait  of  an  unknown  man  Portrait  d’un  inconnu 


141 


* Berlin,  Kalser-Frledrlch-Museum  H.  0,51,  B.  0,37 

Bildnis  eines  alteren  Herrn 

Portrait  of  an  elderly  man  Portrait  d’un  homme  age 


142 


♦Windsor,  Major  Charles  Palmer  H.  0,42,  B.  0,32 

Englische  Dame 

Vermutlich  Margaret  Wyat,  Lady  Lee 

An  English  lady  Une  dame  anglaise 

Probably  Margaret  Wyat,  Lady  Lee  Probablement  Margaret  Wyat,  Lady  Lee 


143 


Wien,  Graf  Lanckoronskl 

Portrait  of  an  English  lady 


H.  0,285,  B.  0,23 


Bildnis  einer  englischen  Dame 


Portrait  d'une  dame  anglaise 


144 


MINIATUREN 


MINIATURES 


MINIATURES 


*IVlunchen,  Alte  Pinakothek  H.  0,09,  B.  0,07 

Derich  Born 

1533 


* Haag,  Kgl.  SchloB  Durchmesser  0,034 

Bildnis  eines  Knaben 
Portrait  of  a boy  Portrait  d’un  gargoti 


Holbein  d.  J.  10 


147 


* London,  Mr.  Vernon  Watney 

Durchmesser  0,038 

Bildnis  einer  englischen  Hofdame 

(angeblich  Jane  Seymour) 
Portrait  of  a lady  Portrait  d’une  dame 
of  the  court  de  la  cour  anglaise 
(called  (dite 

Jane  Seymour)  Jane  Seymour) 


:i  London,  South  Kensington  Museum 

Durchmesser  0,045 

Anna  von  Cleve,  Konigin  von  England 
1539 

Anne  of  Cleves,  Queen  Anne  de  Cleve,  reine 
of  England  d’Angleterre 


* London,  Pierpont  Morgan  Durchmesser  0,C54 

Mrs.  Pemberton 


* London,  Duke  of  Buccleuch  Durchmesser  0,051 


Katharina  Howard,  Konigin  von  England 


Catherine  Howard,  Queen 
of  England 


Catherine  Howard,  reine 
d’Angleierre 


148 


* Windsor,  Kgl.  SchloB 


Durchmesser  0,047 


Karl  Brandon,  Sohn 
Charles  Brandon,  son  of 
the  duke  of  Suffolk 


des  Herzogs  von  Suffolk 
1541  Charles  Brandon,  fils 
du  due  de  Suffolk 


* Windsor,  Kgl.  SchloB 


Durchmesser  0,047 


Henry  Brandon,  Sohn  des 
Henry  Brandon,  son  of 
the  duke  of  Suffolk 


Herzogs  von  Suffolk 
Henri  Brandon,  fils 
du  due  de  Suffolk 


* Windsor,  Kgl.  SchloB  Durchmesser  0,058 

Konigin  Katharina  Howard 

Queen  Catherine  La  reine  Catherine 

Howard  Howard 


* Windsor,  Kgl.  SchloB  Durchmesser  0,055 

Lady  Elizabeth  Audley 


149 


*Miinchen,  Bayr.  Nationalmuseum  Durchmesser  0,05 

Bildnis  eines  Herrn 

Portrait  of  a gentleman  Portrait  d’homme 


* London,  Wallace  Collection  Durchmesser  0,037 

Selbstbil dnis  Hans  Holbein  d.  J. 

Hans  Holbein  the  younger  Hans  Holbein  le  jeune 
Painted  by  himself  Peint  par  lui-meme 


150 


UNTERGEGANGENE  WANDGEMALDE 

ZUSAMMENGESTELLT  NACH  ORIGINALENTWURFEN  UND  KOPIEN 
LOST  WALL-PAINTINGS  PEINTURES  DECORATIVES  PERDUES 


AFTER  ORIGINAL  DRAWINGS 
AND  COPIES 


D'APRES  DES  DESSINS  ORIG1NAUX 
ET  DES  COPIES 


153 


*Basel,  Oeffentliche  Kunstsammlung  Rekonstruktlon  von  A.  Landerer 

Fassadenmalerei  am  Hertensteinhause  in  Luzern 

Frescoes  on  the  face  of  the  Hertenstein-house  at  Lucerne  Fresque  de  facade  de  la  maison  Hertenstein  a Lucerne 


Basel,  Ocffentllchc  Kunstsammlung  Zeichnungen  von  H.  Holbein  d.  J. 

Entwiirfe  zur  Fassadenmalcrei  des  Hertensteinhauses 
I.  Leaina  vor  den  Richtern.  II.  Dekoration  des  Erdgeschosses 
Designs  for  the  face-painting  of  the  Hertenstein-house  Dessins  pour  les  peintures  de  fagade  de  la  maison  Hertenstein 
I.  Leaina  before  the  judges  I.  Leaina  devant  les  juges 

II.  Decoration  of  the  ground-floor  154  II.  Decoration  du  rez-de-chaussee 


Wandmalereien  im  Hertensteinhaus  zu  Luzern 


Frescoes  in  the  Hertenstein-house  at  Lucerne 


Fresques  dans  la  maison  Hertenstein  a Lucerne 


Luzern,  Biirgerbibllothek 


Kopie  von  J.  Schwegler,  1825 


Hirschjagd  beim  Schlofi  Buonas 

Wandgemalde,  ehemals  im  Saal  des  dritten  Stockwerks 


Stag-hunt  near  the  castle  of  Buonas 
Fresco,  formerly  in  Ihe  hall  of  the  third  floor 


Chasse  aux  cerfs  pres  du  chateau  de  Buonas 
Fresque,  autrefois  dans  la  salle  du  troisieme  etage 


Luzern,  Biirgerbibllothek  Kopie  von  J.  Schwegler,  1825 

Jakob  von  Hertenstein  auf  der  Entenjagd 

Wandgemalde,  ehemals  im  Saal  des  dritten  Stockwerks 

Jacob  of  Hertenstein  at  the  chase  of  ducks  Jacques  de  Hertenstein  a la  chasse  aux  canards 

Fresco,  formerly  in  the  hall  of  the  third  floor  Fresque,  autrefois  dans  la  salle  du  troisieme  etage 


155 


Wandmalereien  im  Hertensteinhaus  zu  Luzern 

Frescoes  of  the  Hertenstein-house  at  Lucerne  Fresques  dans  la  maison  Hertenstein  a Lucerne 


Luzern,  Biirgerbibliothek 


Kopie  von  1825 

Hasenjagd 

Wandgemalde,  ehemals  im  Saal  des  dritten  Stockwerks 
Hare-hunting  Chasse  aux  lievres 

Fresco,  formerly  in  the  hall  of  the  third  floor  Fresque,  autrefois  dans  la  salle  du  troisieme  etage 


Luzern,  Biirgerbibliothek 

Der  Jungbrunnen 


Kopie  von  1825 


Wandgemalde,  ehemals  im  Saal  des  dritten  Stockwerks 
The  fountain  of  youth  ' a fontaine  de  jouvence 

Fresco,  formerly  in  the  hall  of  the  third  floor  Fresque,  autrefois  dans  la  salle  du  troisieme  etage 


156 


Wandmalereien  im  Hertensteinhaus  zu  Luzern 

Frescoes  of  the  Hertenstein-house  at  Lucerne  Fresques  dans  la  maison  Flertenstein  a Lucerne 


Luzern  Biirgerbibliothek 


Bettelfuhr 


Kopie  von  J.  Schwegler,  1825 


Wandgemalde,  ehe 
A cart-load  of  beggars 
Fresco,  formerly  in  the  hall  ot  the  third  floor 


rnals  im  Saal  des  dritten  Stockwerks 

Transport  de  mendiants 
Fresque,  autrefois  dans  la  salle  du  troisieme  etage 


Nach  Liebenau,  Fresken  am  Hertensteinhause  in  Luzern  Kopie  von  J.  Schwegler,  1825 

Prozession 

Wandgemalde  in  einem  Gemach  des  dritten  Stockwerks 
Procession  Procession 

Fresco,  formerly  in  a room  of  the  third  floor  Fresque,  autrefois  dans  une  chambre  du  troisieme  etage 


157 


Wandmalereien  im  Hertensteinhaus  zu  Luzern 
Frescoes  of  the  Hertenstein-house  at  Lucerne  Fresques  dans  la  maison  Hertenstein  a Lucerne 


Nach  Liebenau,  Fresken  am  Hertenstcinliause  in  Luzern  Kopie  von  J.  Schwegler,  1825 

Die  sieben  Schutzpatrone  der  Familie  von  Hertenstein 

Wandgemalde,  ehemals  in  einem  Gemach  des  dritten  Stockwerks 


The  seven  patrons  of  the  family  of  Hertenstein  Les  sept  patrons  de  la  familie  de  Hertenstein 

Fresco,  formerly  in  a room  of  the  third  floor  Fresque,  autrefois  dans  une  chambre  du  troisieme  etage 


Nacli  LlC'benou,  Fresken  nm  Hertenstelnhause  In  Luzern  Kopie  von  J.  Schwegler,  1825 

Die  heiligen  vierzehn  Nothelfer 
Wandgemiilde,  ehemals  in  einem  Gemach  des  dritten  Stockwerks 
The  lourteen  holy  helpers  in  need  Les  quatorze  saints  protecteurs 

Fresco,  formerly  in  a room  of  the  third  floor  Fresque,  autrefois  dans  une  chambre  du  troisieme  etage 


158 


159 


Basel,  Oeffentliche  Kunstsammlung  Rekonstruktlon  von  H.E.v.  Berlepsch 

Fassadenmalerei  des  Hauses  zum  Tanz  in  Basel 

Frescoes  on  the  facade  of  the  house  „zum  Tanz“  at  Basle  Fresque  de  facade  de  la  inaison  dite  „zum  Tanz“  ft  Bale 


YT 

wr 

& 

Berlin,  Kgl.  Kupfcrstichkablnctt 


Zeichnung  von  H.  Holbein  d.  J. 


Fassadc  des  Hauses  zum  Tanz  gegen  die  Eisengasse 


Front  of  the  house  „zum  Tanz“,  facing 
(lie  „Eisengasse“ 


Facade  de  la  maison  dite  „zuni  Tanz 
donnant  sur  l’„Eisengasse'‘ 


160 


Basel,  Oeffentllche  Kunstsammlung  Kople  von  Niklaus  Rippel,  1590 

Fassadenmalerei  des  Hauses  zum  Tanz  (Ausschnift) 

Fresco  on  the  facade  of  the  house  „zum  Tanz"  Fresque  de  facade  de  la  maison  dite  „zum  Tanz" 
(Detail)  (Detail) 


161 


162 


* Basel,  Oeffentliche  Kunstsammlung 

Konig  Sapor  demutigt 
Wandgemalde,  ehemals  ii 
King  Sapor  abases  the  emperor  Valerian 
Fresco,  formerly  in  the  Great- 
Council-Chamber  at  Basle 


Zeichnung  von  H.  Holbein  d.  J. 

den  Kaiser  Valerian 

GroB-Rat-Saal  zu  Basel 

Le  roi  Sapor  humilie  l'empereur  Valerien 
Fresque,  autrefois  dans  la  salle  du  Grand- 
Conseil  a l'hotel  de  ville  a Bale 


Holbein  d.  J.  11 


163 


Basel,  Ocffentllche  Kunstsammlung 

Der  Tod  des  Gesetzgebers  Charondas 

Wandgemalde,  ehemals  im  Grofi-Rat-Saal  zu  Basel 


Kople  nach  Holbeins  Entwurf 


The  death  of  the  legislator  Charondas 

Fresco,  formerly  in  the  Great-Council-Chamber 


La  mort  du  legislates  Charondas 
Fresque,  autrefois  dans  la  salle  du  Grand-Conseil  a Bale 


at  Basle 


164 


165 


Basel,  Oeffentllche  Kunstsammlung  Kopie  von  H.  Hell,  1817 

Der  Tod  des  Gesetzgebers  Charondas 
Wandgemalde,  ehemals  im  GroB-Rat-Saal  zu  Basel 

The  death  of  the  legislator  Charondas  1521  La  mort  du  legislates  Charondas 

Fresco,  formerly  in  the  Great-Council-Chamber  at  Basle  Fresque,  autrefois  dans  la  salle  du  Grand-Conseil  a Bale 


Basel,  Oeffentllche  Kunstsammlung  Kopie  nach  Holbeins  Zelchnung 

Die  Blendung  des  Zaleukos  von  Lokri 
Wandgemalde,  ehemals  im  Gro6-Rat-Saal  zu  Basel 
The  blinding  of  Zaleucus  of  Locri  Zaleucus  de  Locride  prive  de  la  vue 

Fresco,  formerly  in  the  Great-Council-Chamber  at  Basle  Fresque,  autrefois  dans  la  salle  du  Grand-Conseil  a Bale 


166 


167 


Basel,  Oeffentllche  Kunstsammlung  Kople  von  H.  HeB,  1S17 

Die  Blendung  des  Zaleukos  von  Lokri 

Wandgemalde,  ehemals  im  Gro(5-Rat-Saal  zu  Basel 

The  blinding  of  Zaleucus  of  Locri  Zaleucus  de  Locride  prive  de  la  vue 

Fresco,  formerly  in  the  Great-Council-Chamber  at  Basle  Fresque,  autrefois  dans  la  salle  du  Grand-Conseil  a Bale 


Basel,  Oeffentllclic  Kunstsammlung  Kopie  von  H.  Hefi,  1817 

Curius  Dentatus  weist  die  Gesandten  der  Samniter  zurlick 

Wandgemalde,  ehemals  im  GroB-Rat-Saal  zu  Basel 

Curius  Dentatus  repulses  the  ambassadors  Curius  Dentatus  repousse  les  ambassadeurs 

of  the  Satnnites  des  Samnites 

Fresco,  formerly  in  the  Great-Council  Chamber  Fresque,  autrefois  dans  la  salle  du  Grand- 


at  Basle 


Conseil  a Bale 


168 


Die  Gerechtigkeit  fordert  die  Rate  auf,  mit  Selbstverleugnung  ihre  Pflicht  zu  tun 


Wandgemalde,  ehemals  ii 
The  Justice  summons  the  members  of 
council  to  do  their  duly 
Fresco,  formerly  in  the  Great-Council-Chamber 
at  Basle 


GroB-Rat-Saal  zu  Basel 

La  Justice  rappelle  les  membres  du 
Conseil  ii  leur  devoir 
Fresque,  autrefois  dans  la  salle  du  Grand- 
Conseil  a Bale 


169 


Basel,  Oeffentllche  Kunstsammlung 

Die  MaBigkeit 


Kopien,  XVI.  Jahrhundert 

Die  Weisheit 


Wandgemalde,  ehemals  im  Grofi-Rat-Saal  zu  Basel 

Temperance  La  temperance  Wisdom  La  sagesse 

Frescoes,  formerly  in  the  Great-Council-Chamber  at  Basle  Fresques,  autrefois  dans  la  salle  du  Grand-Conseil  a Bale 


170 


Basel,  Oeffentliche  Kunstsammlung 

Konig  David 


Kopien,  XVI.  Jahrhundert 

Christus 


Wandgemalde, 
King  David  Le  roi  David 

Frescoes,  formerly  in  the  Great-Council-Chamber 


ehemals  im  GroB-Rat-Saal  zu  Basel 

1523  Christ  Le  Christ 

at  Basle  Fresques,  autrefois  dans  la  salle  du  Grand-Conseil  a Bale 


171 


172 


* Basel,  Oeffentliche  Kunstsammlung  Zelchnung  von  H.  Holbein  d.  J. 

Konig  Rehabeam  droht  den  Raten  und  Aeltesten  des  Volkes 

Wandgemalde,  ehemals  im  Grofl-Rat-Saal  zu  Basel 

King  Rehoboam  threatens  the  counsellors  and  aldermen  of  the  people  1530  Le  roi  Roboam  menace  les  conseillers  et  les  anciens  du  peuple 

Fresco,  formerly  in  the  Great-Council-Chamber  at  Basle  Fresque,  autrefois  dans  la  salle  du  Grand-Conseil  a Bale 


173 


Fresco,  formerly  in  the  Great-Council-Chamber  at  Basle  Fresque,  autrefois  dans  la  salle  du  Grand-Conseil  a Bale 


* Dresden,  Kgl.  Gemhldegalerie  H.  0,79,  B.  0,54 

Der  Tod  der  Virginia 

Kopie  nacli  einem  verschollenen  Wnndgenialde  in  Grisaillemalerei 
The  death  of  Virginia  La  mort  de  Virginie 

Copy  of  a lost  fresco  in  grisaille  Copie  d’une  fresque  perdue  en  grisaille 


174 


175 


Wandgemalde,  ehemals  im  Festsaal  des  Stahlhofs  zu  London 


176 


London,  Britlsches  Museum  Kopie  von  Jan  de  Blschop 

Der  Triumph  des  Reichtums 

Wandgemalde,  ehemals  im  Festsaal  des  Stahlhofs  zu  London 

The  Triumph  of  Riches  Le  triomphe  de  la  richesse 

Fresco,  formerly  in  the  hall  of  the  Steelyard  in  London  Fresque,  autrefois  dans  la  salle  des  fetes  du  Stahlhof  a Londres 


177 


* London,  Britisches  Museum  Kople  von  Jnn  de  Bischop 

Der  Triumph  der  Armut 

Wandgemalde,  ehemals  im  Festsaal  des  Stahlhofs  zu  London 
The  Triumph  of  Poverty  Le  triomphe  de  la  pauvrete 

Fresco,  formerly  in  the  hall  of  the  Steelyard  in  London  Fresque,  autrefois  dans  la  salle  des  fetes  du  Stahlhof  a Londres 


■m. 


1,1  Berlin,  Kgl.  Kupferstlchkablnett  Zeichnung  von  Hans  Holbein  d.  J. 

Der  Parnafi 

Festdekoration  am  Stahlhof  in  London  beim  Einzug  der  Konigin  Anna  Boleyn 
The  Parnassus  1533  Le  Parnasse 

Festive  decoration  on  the  Steelyard  in  London  on  Panneau  decoratif  au  Stahlhof  a Londres  lors 

occasion  of  the  entrance  of  Queen  Anne  Boleyn  de  l’entree  de  la  reine  Anne  Boleyn 


178 


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179 


Clmtsworth,  Herzog  von  Devonshire 


H.  2,58,  B.  1,37 


Konig  Heinrich  VIII.  von  England  und  sein  Vater  Heinrich  VII. 
Originalkarton  fur  die  linke  Halfte  des  Wandgemaldes,  ehemals  im  Privy  Chamber 
des  Schlosses  Whitehall  zu  London 


King  Henry  VIII.  of  England 
and  his  father  Henry  VII.  1537 
Original  cartoon  for  the  left 
party  of  the  fresco 

180 


Henri  VIII,  roi  d’Angleterre 
et  son  pere  Henri  VII 
Carton  original  pour  la  partie 
gauche  de  la  fresque 


Chatsworth,  Herzog  von  Devonshire  H.  2,167,  B.  1,232 

Konig  Heinrich  VIII.  von  England 
Kopie  nach  dem  Wandgemalde,  ehemals  in  SchloB  Whitehall 
King  Henry  VIII.  of  England  Henri  VIII,  roi  d'Angleterre 

Copy  after  the  fresco,  formerly  in  Copie  d’apres  la  fresqne,  autrefois 

Whitehall  Palace  au  palais  de  Whitehall 


181 


Windsor,  Kgl.  Schlofl 


MiniaturgemUlde  von  H.  Holbein  d.  J. 


Salomon  empfangt  die  Konigin  von  Saba 
Enlwurf,  vermutlich  zu  einein  verschollenen  Wandgemalde  in  Grisailiemalerei 
Salomon  receives  the  queen  of  Sheba  Salomon  revolt  la  reine  de  Saba 

Design,  probably  for  a lost  fresco  in  grisaille  Projet,  probablement  pour  une  fresque  perdue  en  grisaille 


182 


London,  Britlsches  Museum 


Kopie,  XVI.  Jahrhundert 


Konig  Heinrich  VIII.  bei  Tafel 
Vermutlich  nach  einem  Entwurf  zu  einem  verschollenen  Wandgemalde 


King  Henry  VIII.  at  table 
Probably  after  a sketch  for  a lost  fresco 


Le  roi  Henri  VIII  a table 
Probablement  d'apres  un  projet  pour  une 
fresque  perdue 


183 


VERSCHOLLENE  TAFELBILDER 

NACH  KOPIEN  UND  STICHEN 


LOST  PICTURES 

AFTER  COPIES  AND  ENGRAVINGS 


TABLEAUX  PERDUS 
D'APRES  DES  COPIES  ET  DES  GRAVURES 


•Palermo,  Chiaramonte  Bordonaro 

Die  Beweinung  Christi 
The  lamentation  for  Christ 


H.  1,175,  B.  0,575  • 


Le  Christ  pleure 


187 


* Basel,  Oeffcntllche  Kunstsammlung  H.  0,91,  B.  0,75 

Christus  am  Kreuz  zwischen  Maria  und  Johannes 

Christ  on  the  cross  between  Mary  Le  Christ  crucifie  entre  Marie 

and  St.  John  et  saint  Jean 


188 


* Amsterdam,  Kgl.  Kupferstlchkablnett  Gestochen  von  W.  Akersloot,  1664 

Die  Gefangennahme  Christi 

Christ  is  taken  prisoner  L’arrestation  de  Jesus-Christ 


189 


190 


* P.109  Gestochen  von  W.  Hollar  * P.176  Gestochen  von  W.  Hollar 

Die  Beweinung  Christi  St.  Barbara 

Mittelbild  eines  Triptychons  St.  Barbara  Sainte  Barbe 

The  lamentation  for  Christ  Le  Christ  pleure 

Central  part  of  a triptych  Milieu  d’un  triptyque 


e-S>  cs 

^ C 2 

0>:~S-0 

ffe©f  •= 

I ■ • rz  £* 


w 

cn 


M 


191 


192 


* Basel,  Oeffentliche  Kunstsammlung  Zeichnung  von  Hans  Holbein  d.  J. 

Vorstudie  zum  Familienbilde  des  Sir  Thomas  More 

Study  for  the  family  portrait  of  Sir  Thomas  More  1528  Esquisse  pour  le  portrait  de  famille  de  Sir  Thomas  More 


193 


London,  Sir  Hugh  Lane  * 

Kopie  nach  dem  Familienbilde  des  Sir  Thomas  More 

Copy  after  the  family  portrait  of  Sir  Thomas  More  Copie  d’apres  le  portrait  de  famille  de  Sir  Thomas  More 


London,  Lord  Sackvllle  H.  0,647,  B.  0,495 

Margaret  Roper,  Tochter  des  Thomas  More 
Kopie  eines  Aussclmittes  des  Familienbildes  von  1528 
Margaret  Roper,  daughter  of  Thomas  More  Marguerite  Roper,  fille  de  Thomas  More 

Partial  copy  of  the  family  portrait  Copiee  d'apres  le  portrait  de  famille 


194 


* Haag,  Kgl.  Museum  H.  0,39,  B.  0,264 

Jane  Seymour,  Konigin  von  England 

Jane  Seymour,  Queen  of  England  Jane  Seymour,  reine  d’Angleterre 


Holbein  d.  J.  13 


195 


P.  1551  Stich  von  W.  Hollar 

Bildnis  eines  Knaben 
Portrait  of  a boy  Portrait  d’un  gargon 


*P.  1552  such  von  W.  Hollar 

Margaret  Clement 


P.  1544 


Stich  von  W.  Hollar 


*P.  1543 


Stich  von  W.  Hollar 


Unbekannter  mit  schwarzem  Barett 
An  unknown  with  a black  Un  inconnu  avec  une 
bonnet  barrette  noire 


Bildnis  eines  Junglings 
Portrait  of  a young  Portrait  d’un  jeune 
man  homme 


196 


HA.N.S  NON  ZVRl'H  nurX''IUll|lT 


197 


* P.  1411  Stich  von  W.  Hollar  *P.  1509  Stich  von  W.  Hollar 

Der  Goldschmied  Hans  von  Zurich  Henry  Howard,  Graf  von  Surrey 

The  goldsmith  Hans  of  Zurich  1532  L’orfevre  Hans  de  Zurich  Henry  Howard,  Earl  of  Surrey  1542  Henri  Howard,  Comte  de  Surrey 


* P.  1550  Stich  von  W.  Hollar 

Unbekannte  englische  Dame 

An  unknown  English  lady  Une  dame  anglaise  inconnue 


* P.  1545  Stich  von  W.  Hollar 

Konigin  Anna  von  Cleve  (?) 

Queen  Anne  of  Cleves(?)  La  reine  Anne  de  Cleve(?) 


P.  1546 


Stich  von  W.  Hollar 


P.  1387 


Stich  von  W.  Hollar 


Konigin  Katharina  Howard 

Queen  Catherine  La  reine  Catherine 

Howard  Howard 


Lord  Denny 
1541 


198 


P.  1547 


stlch  von  W.  Hollar 


P.  1549 


Stlch  von  W.  Hollar 


Jean  de  Dinteville  (?) 


Unbekannte  englische  Dame 
An  unknown  English  Une  dame  anglaise 
lady  inconnue 


♦P.1465  Stich  von  W.  Hollar 

Prinzessin  Maria,  Tochter  Heinrichs  VIII.  (?) 
Princess  Mary,  after  La  princesse  Marie, 
Queen  (?)  fille  de  Henri  VIII  (?) 


P.  1342  Stlch  von  W.  Hollar 

Konigin  Anna  Boleyn  (?) 

Queen  Anne  Boleyn  (?)  La  reine  Anne  Boleyn  (?) 


199 


*P.  1554  Stich  von  W.  Hollar 

Karl  Brandon,  Herzog  von  Suffolk  (?) 

Charles  Brandon,  Duke  of  Su ffolk (?)  Charles  Brandon,  Due  de  Suffolk(?) 


200 


ANHANG 

ZWEIFELHAFTE  UND  FALSCHLICH  ZUGEWIESENE  GEMALDE 
WICHTIGERE  KOPIEN  NACH  VORHANDENEN  GEMALDEN 

APPENDIX  SUPPLEMENT 


DOUBTFUL  AND  WRONGLY 
ATTRIBUTED  PICTURES 
THE  MOST  IMPORTANT  COPIES 


TABLEAUX  DOUTEUX  OU 
FAUSSEMENT  ATTRIBUES 
COPIES  IMPORTANTES 


‘Darmstadt,  Groflherzogl.  Hesslsches  Landesmuseum 

Bildnis  eines  Jiinglings 


H.  0,33,  B.  0,28 


Portrait  of  a young  man 


1515 


Portrait  d’un  jeune  homme 


203 


* Basel,  Oeffentllche  Kunstsnmmlung  Pergament  auf  Holz,  H.  0,405,  B.  0,275 

Der  Maler  Hans  Herbster  von  Basel 

Portrait  of  the  painter  Hans  Herbster  of  Basle  1516  Portrait  du  peintre  Hans  Herbster  de  Bale 


204 


* Krakau,  Furst  Czartoryskl  H.  0,34,  B.  0,26 

Mannliches  Bildnis 

Angeblich  Biirgermeister  Jakob  Meyer  von  Basel 
Portrait  of  a man  Portrait  d’homme 

Called  the  burgomaster  Jacob  Meyer  of  Basle  Dit  le  bourgmestre  Jacques  Meyer  de  Bale 


205 


* Paris,  Walter  Oay  H.  0,835,  B.  0,512 

Erasmus  von  Rotterdam 

Nach  dem  Gemalde  in  Longford  Castle 

After  the  portrait  at  Longford  Castle  D’apres  le  portrait  a Longford  Castle 


206 


207 


♦Hampton  Court  Palace  H.  0,548,  B.  0,324  Hampton  Court  Palace  H.  0,545,  B.  0,32 

Buchdrucker  Johannes  Froben  von  Basel  Erasmus  von  Rotterdam 

The  printer  John  Froben  L’imprimeur  Jean  Froben  Nach  dem  Gemalde  in  Longford  Castle 

of  Basle  de  Bale  After  the  portrait  at  Longford  Castle  D’apres  le  portrait  a Longford  Castle 


"‘Basel,  Ocffcntllche  Kunstsammlung  H.  0,38,  B.  0,323 

Buchdrncker  Johannes  Froben 

The  printer  John  Froben  L’imprimeur  Jean  Froben 


208 


♦Dresden,  Kgl.  Gemaidegalerie 


H.  1,595,  B.  1,03 


Die  Madonna  mit  der  Familie  des  Burgermeisters  Jakob  Meyer 


The  Madonna  with  the  family  of  the 
burgomaster  Jacob  Meyer 


La  Vierge  avec  la  famille  du  bourgmestre 
Jacques  Meyer 


209 


210 


Erlangen,  Unlversitatsgalerle  Pergament,  H.  0,285,  B.  0,38 

Der  Gleichmut  des  Pyrrho 

The  imperlurbation  of  Pyrrho  L’intrepidite  de  Pyrrhon 


* Munchen,  Alle  Plnakothek 


H.  0,49,  B.  0,38 


Sir  Bryan  Tuke 


Holbein  d.  J.  14 


211 


!!!Glarus,  E.  Triimpy  0,453,  B.  0,425 

Kopie  nach  dem  Familienbildnis  des  Kunstlers  in  Basel 

Vermutlich  mit  dem  urspriinglichen  Hintergrunde 

Copy  after  the  artist’s  family  portrait  at  Basle  Copie  d’apres  le  portrait  de  famille  de  l’artiste  a Bale 
Probably  with  the  original  back-ground  Probablement  avec  le  fond  original 

XVI.  Jahrhundert 


212 


* Lille,  Gemaidemuseum  H.  0,90,  B.  0,64 

Kopie  nach  dem  Farnilienbildnis  des  Kiinstlers  in  Basel 

Nach  Entfernung  des  urspriinglichen  Hintergrundes ; im  jetzigen  Zustand 
Copy  after  the  artist’s  family  portrait  at  Basle  Copie  d'apres  le  portrait  de  famille  de  l’artiste  a Bale 
Without  the  original  back-ground  Sans  le  fond  original 

XVI.  Jahrhundert 


Holbein  d.  J.  14 


213 


St.  Petersburg,  Eremltage 


H.  0,84,  B.  0,66 


Erasmus  von  Rotterdam 


214 


Besan^on,  Stadtisches  Museum 


n.  U,ob,  ts.  U,1'7 


Erasmus  von  Rotterdam 

Kopie  nach  dem  Gemalde  in  Parma 

Copy  after  the  portrait  at  Parma  Copie  d’apres  le  portrait  a Parme 


215 


London,  Mr.  Leopold  Hlrscli 


Bildnis  eines  Unbekannten 


Portrait  of  an  unknown  man 


1530 


H.  0,685,  B.  0,558 

Portrait  d’un  inconnu 


216 


* Paris,  Marquis  de  la  Rosi£re  | H.  0,259,  B.  0,204 

Sir  Nicholas  Pointz 

1535 


217 


Paris,  Louvre  Ft.  M?,  B. 

Sir  Richard  Southwell 

Kopie  nach  dem  Gemiilde  in  Florenz 

Copy  after  the  portrait  at  Florence  1536  Copie  d'apres  le  portrait  a Florence 


218 


♦Munchen,  Alte  Pinakothek  H.  0,53,  B.  0,42 

Derich  Berck  aus  Coin 

Kopie  nach  dem  Gemalde  in  Petworth 

Copy  after  the  portrait  at  Petworth  Copie  d’apres  le  portrait  a Petworth 


219 


Prag,  Qcmllldegalerle  des  Rudolphlnums 


H.  0,36,  B.  0,27 


Lady  Elizabeth  Vaux 


220 


♦Hampton  Court  Palace  H.0,38,  B.  0,29 

Lady  Elizabeth  Vaux 


221 


Windsor,  Kgl.  ScliloG  O.  1,01,  B.  0,74 

Konig  Heinrich  VIII.  von  England 

Henry  VIII.,  King  of  England  Henri  VIII,  roi  d’Angleterre 


222 


* Windsor,  Kgl.  Schlofi  H.  1,12,  B.  0,82 

Konig  Eduard  VI.  von  England 

Edward  VI.,  King  of  England  Edouard  VI,  roi  d'Angleterre 


223 


Madrid,  Prado 


H.  0.62,  B.  0,47 


Bildnis  eines  Unbekannten 

Portrait  of  an  unknown  man 


Portrait  d’un  inconnu 


224 


•Brussel,  Kgl.  Gemaidegalerle  H.  0,23,  B.  0,17 

Mannliches  Bildnis 

Fruher  Thomas  Morus  genannt 

Portrait  of  an  unknown  man  Portrait  d’un  inconnu 

Formerly  called  Thomas  More  Autrefois  nomme  Thomas  More 


225 


*Althorp,  Earl  Spencer  Durchmesser  0,10 

Der  Goldschmied  Hans  von  Antwerpen 

The  goldsmith  Hans  of  Antwerp  L’orfevre  Hans  d’Anvers 


226 


London,  Mr.  J.  Pierpont  Morgan 

Durchmesser  0,07 


Sir  Thomas  More 

Nach  dem  Gemalde  von  1527 
After  the  portrait  D’apres  le  portrait 

of  1527  de  1527 


* London,  Mrs.  Joseph 


Lady  Guildford 
Nach  dem  Gemalde  von  1527 
After  the  portrait  D'apies  le  portrait 

of  1527  de  1527 


London,  Mr.  J.  Pierpont  Morgan 

Antwerpen,  Mayer  van  den  Bergh 

Durchmesser  0,032 

Durchmesser  0,04 

Heinrich  VIII., 

Holbeins  Selbstbildnis 

Konig  von  England 

Kopie 

Kopie 

Hans  Holbein’s  Hans  Holbein, 

Henry  VIII.,  Henri  VIII, 

King  of  England  roi  d’Angleterre 

own  portrait  peint  par  lui-meme 

227 


* Philadelphia  John  G.  Johnson 

Bildnis  eines  Unbekannten 

Porirait  of  an  unknown  man  Portrait  d’un  inconnu 


228 


ERLAUTERUNGEN 


UND 

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